honorable mention
Gerry Dotto canada
title
The Flow of Traffic Theory
As the project developed, it expanded to include other sources associated with the experience of driving and being on the road. These sources include traffic lights, parking lots, license plates, etc. - any objects that relate to driving and what you see out on the road. In this way, each photograph looks at components of our universal language, altered in ways that lead to new interpretations (or misinterpretations), affected by changes in context. To a larger degree, this reflects on how established forms of our language, and communication in general, can be compromised for the sake of convenience or through neglect.
Over the course of the last several years, I’ve kept a keen eye out for road signs that have been damaged, knocked over, victims of adverse weather or compromised by construction. The interesting thing is that these signs are generally overlooked by drivers—they can rationalize or assume they know what a sign is supposed to say, so they ignore it; the sign becomes ‘invisible’. I made it my mission to show the beauty of these objects whose purpose had been defeated.
My work is based on exploring our interaction with everyday forms of visual communication. The subjects of my images are developed from two seemingly divergent sources: consumer packaging and road signs. They do share a common trait in that they are familiar objects, but more specifically, I’m inspired by these familiar objects when their words and symbols have become obscured or distorted in some way. I recreate these altered items to present them in a new light. The value of these objects, relative to the message they once carried, has been lost. They now take on an aesthetic value of their own, either in their appearance or in the reinterpretation of their message.
I’m especially intrigued by the simplicity and the universality of the imagery used for road signs. I’ve developed an ongoing body of work based on this altered imagery as it relates to driving and what you see out on the road. I call this project “The Flow of Traffic Theory.” Each piece starts by looking at components of our universal language, altered in ways that lead to new interpretations (or misinterpretations), affected by changes in context. To a larger degree, this reflects on how established forms of our language, and communication in general, can be compromised for the sake of convenience or through neglect.
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entry description
My work, in general, is based on exploring our interaction with everyday forms of visual communication. I call my project “The Flow of Traffic Theory” and it originated from my fascination with the simplicity and universality of the imagery used on road signs. Specifically, signs whose words and symbols had become obscured or distorted in some way. The value of these signs, relative to the message they once carried, has been lost. They now take on an aesthetic value of their own, either in their appearance, the reinterpretation of their message or based on the context of where they’re physically located.As the project developed, it expanded to include other sources associated with the experience of driving and being on the road. These sources include traffic lights, parking lots, license plates, etc. - any objects that relate to driving and what you see out on the road. In this way, each photograph looks at components of our universal language, altered in ways that lead to new interpretations (or misinterpretations), affected by changes in context. To a larger degree, this reflects on how established forms of our language, and communication in general, can be compromised for the sake of convenience or through neglect.
Over the course of the last several years, I’ve kept a keen eye out for road signs that have been damaged, knocked over, victims of adverse weather or compromised by construction. The interesting thing is that these signs are generally overlooked by drivers—they can rationalize or assume they know what a sign is supposed to say, so they ignore it; the sign becomes ‘invisible’. I made it my mission to show the beauty of these objects whose purpose had been defeated.
about the photographer
I’m an Edmonton area based visual artist and have been active in the local and international art scene for 30 years. I attended the Alberta College of Art from 1977 to 1981. I work with photography, printmaking, photobased media, mixed media and collage. My work has been exhibited nationally and internationally in several group and solo exhibitions, as well as being published in a variety of publications. I also have work in several public and private collections.My work is based on exploring our interaction with everyday forms of visual communication. The subjects of my images are developed from two seemingly divergent sources: consumer packaging and road signs. They do share a common trait in that they are familiar objects, but more specifically, I’m inspired by these familiar objects when their words and symbols have become obscured or distorted in some way. I recreate these altered items to present them in a new light. The value of these objects, relative to the message they once carried, has been lost. They now take on an aesthetic value of their own, either in their appearance or in the reinterpretation of their message.
I’m especially intrigued by the simplicity and the universality of the imagery used for road signs. I’ve developed an ongoing body of work based on this altered imagery as it relates to driving and what you see out on the road. I call this project “The Flow of Traffic Theory.” Each piece starts by looking at components of our universal language, altered in ways that lead to new interpretations (or misinterpretations), affected by changes in context. To a larger degree, this reflects on how established forms of our language, and communication in general, can be compromised for the sake of convenience or through neglect.
back to gallery